Gazelle Twin

"I bought Ableton in 2009 and I haven't upgraded since. I really just use it just as a sequencer more than anything. It's excellent for the way I write, which is very improvisatory and instinctive. I don't take ages to prepare things or labour over multiple takes and settings. I believe in the first or second take in most cases."

"I use my VE20 effects pedal a lot during composing and working out vocal sounds which I can perform live. It's the only piece of gear I use live, so without it I would feel very naked."

Mentioned amongst the equipment used in the making of 'Black Dog'.

Mentioned amongst the equipment used in the making of 'Black Dog'.

Mentioned amongst the equipment used in the making of 'Black Dog'.

Mentioned amongst the equipment used in the making of 'Black Dog'.

Gazelle Twin is seen using a Taurus 3 in this video from Moog Sound Lab.

Gazelle Twin used Cubase for multi-tracking choral vocals.

"I try to keep plug-ins to a minimum if I can, and prefer to use samples for as much as possible where I can. For Unflesh, I wrote, recorded and produced everything at home, then took it to an analogue studio in London called MemeTune to work with Benge on bringing some aspects out of the digital realm and into another dimension for extra production and mixing. We replaced a lot of the digital parts with real hardware, mostly vintage synths and effects units like the CS80, Linn-1, and Roland SDD-320 Dimension D Chorus."

"I try to keep plug-ins to a minimum if I can, and prefer to use samples for as much as possible where I can. For Unflesh, I wrote, recorded and produced everything at home, then took it to an analogue studio in London called MemeTune to work with Benge on bringing some aspects out of the digital realm and into another dimension for extra production and mixing. We replaced a lot of the digital parts with real hardware, mostly vintage synths and effects units like the CS80, Linn-1, and Roland SDD-320 Dimension D Chorus.

"I try to keep plug-ins to a minimum if I can, and prefer to use samples for as much as possible where I can. For Unflesh, I wrote, recorded and produced everything at home, then took it to an analogue studio in London called MemeTune to work with Benge on bringing some aspects out of the digital realm and into another dimension for extra production and mixing. We replaced a lot of the digital parts with real hardware, mostly vintage synths and effects units like the CS80, Linn-1, and Roland SDD-320 Dimension D Chorus.